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Newsletter NOVEMBER/DECEMBER 2014, VOL Newsletter NOVEMBER/DECEMBER 2014, VOL. 26, NO. 7 Left to right are Ian (Happy) Grove, Jean-Sébastien Gauthier and Adrian Stimson and the com- pleted installation of The Spirit of Alliance. All three collaborated on the installation. Bronze figures are Chief Wabasha IV and Col. Robert Dickson, far right with back to camera. On the ex- treme left are Dickson’s wife Ista Totowin and their daughter Helen Dickson. Story pages 3 to 7. (Photo by Ashleigh Mattern) CARFAC NATIONAL (1968-2014) CELEBRATES 46 YEARS AND CARFAC SASK (1983-2014) CELEBRATES 31 YEARS OF SERVING ARTISTS 2 CARFAC SASK NEWSLETTER CARFAC SASK Newsletter The CARFAC SASK Newsletter is ContentsVol. 26 No. 7 November/December 2014 published six times a year: January/February 2015: Spirit of Alliance Upcoming issue An anti-war memorial links past, present and future, 3-7 Deadline for copy is Dec. 20 at the Cadmium pigment concerns very latest. Concerns about the toxicity of cadmium pigments has repercussions for March/April 2015: artists, 8-9 Deadline for copy is February 20 Approaching a gallery May/June 2015: Advice on finding the gallery that is right for you,9-11 Deadline for copy is April 20 More Picassos for the Remai July/August 2015: Frederick Mulder donated 23 ceramic works by Picasso to the Remai Deadline for copy is June 20 Modern, 12 Mendel celebrates Several events help the Mendel and its audience celebrate 50 years, Jim Graham: Newsletter Editor 13-14 E-mail: [email protected] © CARFAC Saskatchewan 2014 Thelma Pepper receives award Individual authors also hold copyright to Pepper receives Lieutenant Governor’s Lifetime Achievement Award, 15 their work. Written permission is required to reprint. Jack Cowin, 1947-2014 Cowin will be remembered for his drawings, paintings and prints of fish CARFAC Saskatchewan Newsletter, #203, 416-21st Street East, and birds, 16 Saskatoon S7K 0C2 Culture Days Due to time and space restrictions all sub- CARFAC SASK helps Saskatchewan celebrate Culture Days, September missions cannot be thoroughly checked or 2014, 17 all information printed, so use contact listed. Material published in the CARFAC SASK Newsletter reflects the view of the author and not necessarily the view of CARFAC Saskatchewan. News in brief, 16 Artist to Artist, 19 Members’ News, 19 CARFAC CARFAC SASK Board Events, 19 SASKATCHEWAN Exhibitions, 19-21 Pierre Lheritier, Regina - President Calls for Entry, 21-22 BULLETIN BOARD Jessica Riess, Regina - Past President Twyla Exner, Prince Albert - Vice President Workshops, 22 Amy Banford, Regina - Treasurer Residencies, 22-24 Anna Hergert, Buffalo Pound Opportunities, 24-25 Workshops, Katherine Boyer, Regina Grants + C. Alejandro Romero, Saskatoon Symposium and Leesa Streifler, Regina Foundations, 25-27 Jason Grayston, Regina Membership, 27 AGM, page 18 Paul Constable, Saskatoon CARFAC Saskatchewan is funded through Saskatchewan Lotteries Trust Fund for Sport, Culture and Recreation, SaskCulture and the Saskatchewan Arts Board. NOVEMBER/DECEMBER 2014 3 Prince Edward shakes hands with Whitecap Chief Darcy Bear while Mayor Donald Atchison, foreground, cen- tre, looks on at the unveiling of the sculpture related to the War of 1812. (Photo by Ashleigh Mattern) Spirit of (Anti-)war memorial links Alliance: past, present and future nobody is armed. There’s a balance between women By Ashleigh Mattern and men, and both European and Aboriginal people The new sculpture at River Landing in Saskatoon are represented, with the child representing the mix stands tall against the sky, in sight of a sweeping of both cultures. view of the South Saskatchewan. The Spirit of Alli- “It has an imbedded reflection of so much that is ance’s 30-foot bronze teepee surrounds a scene of current today,” said Ian (Happy) Grove, who worked peace: Chief Wabasha IV and Col. Robert Dickson on the piece with his husband Adrian Stimson and exchange wampums, treaties, blankets, the British Fransaskois artist, Jean-Sébastien Gauthier. flag and three King George medals while Dickson’s wife Ista Totowin and their daughter Helen Dickson “It’s a monument honoring all First Nations inhabit- look on. ing the continent prior to the development of Can- ada and the U.S.,” said Gauthier. “I think that’s so Commemorating the First Nations’ contribution to important for the meaning of the piece. To honor all the War of 1812, it’s technically a war memorial, but 4 CARFAC SASK NEWSLETTER First Nations and all nations, but to understand the the piece and gifted it to the City of Saskatoon. common histories.” “Within the sculpture itself there are many layers of Everything included in the sculpture has signifi- historical reference,” said Stimson. cance: When the Dakota crossed the border into Twelve knee-high boulders fit between the didactic Canada, they wore King George medals as an in- panels, creating spaces to sit, stand on, or climb. dication of their relationship to the alliance with Brit- Making the sculpture interactive was a purposeful ain. The didactic panels surrounding the sculpture decision. The medicine line is not directly explained, are mounted on displays featuring the colours of the so that visitors can decipher it themselves. medicine wheel: White for north, yellow for east, red for south, and blue for west. A 40-foot long steel “If art is static and untouchable and unapproach- medicine line representing the 49th parallel lays able, you can only get so much out of it, but when along the ground, telling the entire history of the it’s interactive and there’s something you can do Whitecap Dakota First Nation, which commissioned with it or get out of it or get from it, or you can touch it or climb it, whatever, that makes it, in my mind, very successful art,” said Grove. “Interactivity is a huge component.” The monument’s unveiling on Septem- ber 19, 2014 was especially exciting because Prince Edward was invited to participate in the ceremonies, along with Whitecap Chief Darcy Bear and other members of the First Nation. Gauthier noted the importance of hav- ing both the Prince and Whitecap mem- bers present, as the sculpture depicts an agreement between the Crown and First Nations people. “It’s like having the people who made the deal standing at the table 200 years later in living symbols,” said Gauthier. Immersive research The project first started to come to- gether during the fall of 2013 when Whitecap Dakota First Nation made the call out for artists. Stimson, Grove and Gauthier decided to collaborate on the project, and won the bid. The first step was to research the War of 1812 in relation to the Whitecap Da- kota, and the history of the First Nation itself. Even though this project fell into Stimson’s set of interests — his previ- ous work has touched on topics such as treaties — there was a lot to learn. “It was a really steep learning curve,” said Stimson. “For myself as a First Na- tions person, I know and I’m aware of a lot of the histories, yet the nuances Foam models of Robert Dickson’s wife Ista Totowin and their and the specifics in relation to the War daughter Helen Dickson that are part of the bronze casting pro- cess. (Photo by Jean-Sébastien Gauthier) of 1812 was something that was really NOVEMBER/DECEMBER 2014 5 Sculpture and teepee poles loaded on trailer nearing Pendleton Oregon. (Photo Jean-Sébastien Gauthier) interesting to research.” The artists researched online, and contacted universities, the national archives, the Canadian War Museum, the Canadian Museum of Civilization, and even the Smithsonian and the Library of Congress in Washington. Stimson said he also read novels, both fiction and non-fiction. “I was immersed in the war of 1812 lore,” he said. As part of the consultation process of designing the sculpture, the art- ists met with Chief Darcy Bear, and Whitecap council, elders, cultural keepers, and students. Speaking with Whitecap members informed them of the history, and also helped them design the clothing for figures: The moccasin designs on Wabasha, Totowin, and Helen are traditional Whitecap designs, and used with permission. “Of course, we didn’t want to ap- propriate that, so we talked to the cultural people, and they shared Sculpting life-size heads for the sculpture on riverbank. (Photo by Jean-Sébastien Gauthier) 6 CARFAC SASK NEWSLETTER Part of the sculpture installed in Saskatoon near the Farmer’s Market in Saskatoon. (Photo by Ashleigh Mat- tern) with us designs we could use,” said Stimson. “[The and there are no historical references whatsoever designs] reflect that time in history, that type of to Totowin or her children, not even written descrip- beadwork that Dakota made.” tions. The monument is about the past, but it is very much For Dickson and Wabasha, they had men of that rooted in the present, and Stimson says it’s also age to model to help fill in the gaps, including Chief connected to the future. Wabasha’s great-great-great-grandson, Leonard “While we interpreted the story and created the Wabasha — the last living relative of the chief. For work, it now will go into the future and a whole Totowin and Helen, the artists invited a mother and bunch of new stories will start coming forward, like a her young daughter from the Whitecap Dakota First giant circle,” he said. “It’s creating its own narrative Nation to model for them. now, its own relationship to the people of Saska- “These are contemporary people, but historical, toon.” like they’re plays, or it’s almost maybe like they’re performance artists!” said Stimson, laughing at the similarity to his own work as a performance artist. Living history “To animate them and create these stories also cre- While the scene depicted in the monument may ates something else; it’s another part of it.” have never really happened, the people represented It was through discussions with the Whitecap Da- actually existed.
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